Don't want to dampen your enthusiasm, Monica, but isn't this simply a distraction from finishing "Knowing Evil"?
sometimes the project you were "born to make" comes along at inopportune moments. like before you've finished the film you had already started... but if a project absolutely rings true in your heart and mind, then you don't really have a choice but to go forward with the new thing. (that was certainly the case with me.)
from what we've read before, it sounds like KNOWING EVIL might be able to wait. but only you know best... if you do go forward with this new project, make sure that you have a current story to tell, rather than simply rehashing the history of how the Artist's Village was created. as you said, there are hidden stories everywhere. go find 'em!
and no, it certainly doesn't sound like you have to be "in" the film.
In reply to John Burgan's post on Wed 20 Aug 2008 :
Well John, you may have me here – I'm falling for "another film." That said, I'm still committed to Knowing Evil and just finished my fundraising trailer. I know I'm a little googly eyed for this new project (it doesn't have all of the baggage of my current relationship:-) but I'm attempting to have some kind of either backup plan or footage in the works for when Knowing Evil is done. I've also thought of posting 5 minute stories like this on my website with a blog as a companion to Knowing Evil. This man's character represents a major them in the film and also symbolizes to me the combination of two of the philosophers in Knowing Evil.
Will I get in over my head if I were to just film some of the events this man is involved in for now, and to either use some of it for small 5 minute pieces and then try to make a film once Knowing Evil is finished? It also feels like a way to detach a little from Knowing Evil (in a healthy way) as I've been a bit monomaniacal with the whole process :-)
And thank you Chris for the great advice!
I am having trouble finding archives pertaining to the film I would like to make. I know this may seem very silly but, I am looking for videos/ video clips of things such as, hannah montana, high school musical, beauty pagents, make up commercials...... I was wondering if you could point me in the right direction and, if you could tell me more info on archives...can you get some free? if so, which ones can you use with no permission or money? and anything else I might need to know.
Monica, not sure if I can help at all. I am finishing up a film that is about how a city is using the arts to bring life back to their downtown and their mills. A few resources that may, or may not help.
Also, a couple docs.
These are along that vein.
End of Suburbia
Escape from Suburbia
There is one Erica mentioned to me that I lost the link for about an artists community in Texas. Erica?
Chris, where were you when I was starting my project. I could have used a theme like an artists group moving into the city to explore the growth.. oh well too late now...
Monica, Varda's "The Gleaners and I" comes to mind. Maybe post-industrial Detroit is a setting where the ideas you're examining in your current doc play out, and the artist village is one branch of a bigger story. You, like Agnes Varda, could be the unifying thread: a filmmaker making sense of the world she lives in, relating historical, social and psychological trends to the changing landscape of the city she inhabits.
try http://www.archive.org look for the prelinger collection, read about the copyright stuff with each clip.
Unfortunately, Skyler, Disney is pretty legal and protective of its media properties. If you're planning on making something that you won't distribute, I wouldn't worry about it (like a class project, for instance), but if the rest of the world will see it, it's a safe bet that they'll be unamused at its use should they find it. However, the policy of "Fair Use" (small description here – http://en.wikipedia.org/wiki/Fair_use) does give you some latitude to use all of those things in the context of a work of "scholarship" which often includes documentary. If an interview you conduct with someone talks about one of those programs, you could probably get away with a very, very short clip of it (or stills). Depending on what your point of view is of these items, the companies behind the creation of the media may even be willing to give you limited use (if it serves their PR or goals). Fair Use is your best bet for using any of it, but as a rule you probably won't be able to use a lot. (Disclaimer: I'm not a lawyer, so for any fair use claims, it's always best to check with someone who knows legal matters a little bit better...)
Here's the website: www.thirdwardtx.com
Carlos – thanks for helping me make that connection between the two films and the possibility of their becoming one. And I've just put Gleaners and I in my Netflix queue.
Jason – Thanks for those sites and the offer of help. I've heard of the Suburbia movies you mentioned and I'm ordering them. Oakland county is one of the richest in the nation and it borders Detroit!
I wasn't exactly thinking they would become one but hey... glad it made any sense.
I will soon be editing in FCP for the first time. I will be using shared macs at the local arts center so I will be trundling along every week with my external hard drive. I understand it needs to be FAT32 formatted. My interviews are all 40 – 60 mins and therefore each is larger than 4GB in its entirety. Do i have to digitise them in stages then? Any good tutorials about on this sort of thing?
Evan, actually it is recommended that you use â€œMac OS Extended (Journaled)â€ for the drive formatting. There should be no problem with file size. Organization is the other big challenge. There has been a lot posted here on that lately. Plenty of good advice, including that each project is different. You may want to apply for full membership to the D-Word so that you can access the FCP topic.
As Jason said, organization is important! Be sure you understand your scratch disks, and how to point the material you capture to your external hard drive and save it there.
hi, i'm ready to buy the panasonic p200a,I am going to be using it for educational and travel films.I have been going back and forth between the sony ex1 and the panasonic. I understand the p2 doesn't produce hd in full 1080 like the ex1, is this that important of a difference? I would like to have equipment i can grow into but is the hd that much of a selling feature when it comes to selling a film or for getting a broadcaster on side for funding? I will be working with premier pro cs3 as i have a pc.Will any of this set up hold me back once i get a project completed? It's such a hard decision! thanks for any help...
This may be a silly question, but I have a 10 minute trailer for Knowing Evil and would like to post it here for anyone to rip apart. I don't have all the rights to the archival images used so if I post it, will I get into legal trouble, would it be too public?
you'll be fine, monica... go ahead and post it.
Ditto. Go right ahead, Monica.
Monica, why haven't you applied for full membership yet?
Great – Here is the 10 minute fundraising trailer for Knowing Evil! Any feedback will be most appreciated – but go easy on me :-) And Doug, I didn't think I was qualified yet as this is my first go round, but I'll apply now – Thanks!
Jill – on the HVX200a (assuming that is what you are talking about) you can shoot DVCproHD at 720p, which is a pretty professional format. Sounds like either the EX1 or the HVX would be a good move up for you. There is a lot to camera other then just the resolution, so don't just use that to determined what camera to buy.
As for broadcasting, if the story is well told and the film is shot well, it wont make a difference what camera it is shot on. If you shoot DVCproHD you can always do a up-rez to HDcam (which is 1080) for broadcast. I'm sure James Longey can speak better on that topic :)
Jill and Andrew – the HVX200a will also shoot 1080i DVCPROHD, just FYI.
Monica, you've been working on a doc feature for 2 years now, I'd say that qualifies you. Besides, we need all the good grant writers we can get ;-)
thanks jason, i forgot to mention that, from my experiences and from what i read it seem 720p is the preferred shooting format on the HVX. I was thinking more along the lines that the HVX shots 1080i and the EX1 shots 1080p (i believe??)
thanks so much,it is the HVX i'm thinking of and i had also read that the EX1 shoot 1080p.Glad to hear that if it's all done well, the equipment is not quite as important, you helped me with that final choice.I really like the idea of have the ability to use tape or the p2 card.From what I've, heard, i think fujitsu is starting to make the same cards so the price is meant to come down in the new year(said she hopefully).I'm a continuing student at G.I.F.T.S.and it's time to take it out into my own project.thanks again to the info, it was just what i was looking for, until another question...jill
For what it's worth, the HVX tape mechanism does not record HD. Just hope that was made clear at some point... (though the HVX does, in fact, record 1080p, just not with a pixel for pixel imager like the EX3).
I'm thinking my trailer may have been overlooked considering the massive preceding posts. If anyone would like to view it – it's about 10 minutes – here it is and I would love any feedback!
i was wondering which is a better editing program..
adobe premiere or sony vegas?
In reply to Monica Williams's post on Mon 25 Aug 2008 :
Monica, far be it from me to have the first word on critiquing someone's work-in-progress trailer, but since no one else seems to be commenting on it, i'll go ahead and take a shot...
First of all, I think your concept is really interesting and compelling. Exploring the concept of evil is one of the things that most of today's documentaries have NOT done. Most of the docs that are coming out deal only with the personal stories in the aftermath of great evil (e.g. WAR DANCE, LOST BOYS OF SUDAN, etc.) So your doc certainly is timely and fills a void.
The most intriguing section of your trailer deals with Adolf Eichmann and the analysis of how his "banal personality" co-existed with his key role in the Holocaust. The archival footage here is strangely riveting and Susan Neiman's commentary gives pertinent information.
Looking at the trailer as a whole, however, I have to say that I didn't find the other sections as interesting or as well constructed. The one big problem – and I don't know how you get around this – is that Susan's voice and presence don't play that well on-screen. Her thoughts are often deep, but just not well-communicated. I feel like she is constantly droning on and sometimes a bit too pleased with her own insights. Tighter editing of her VO would probably help a lot so that we only hear her most salient points.
Also, you use a lot of classical paintings to illustrate your points but a lot of them fall flat because it's not very clear why you are using them. For instance, during the montage where "Sympathy for the Devil" is playing, there's one painting of a naked man with a protractor-drawing tool – what is he doing and why are we watching this? It may be obvious to you, but to the untrained viewer, we have no idea.
There are a number of technical points too that you should be aware of. The opening text animation is really clunky and you'll lose a lot of credibility right from the start if this is the first thing the viewer sees. Generally, text should not "bump" into other text unless you are trying to communicate something comical. A simple fade-in of text is the best approach here. Your other uses of motion graphics, especially with pictures, looks very amateurish as well. I realize you are probably doing everything yourself, but you need to either keep everything absolutely simple (and static), or hire a decent motion graphics artist who can perform the camera moves more elegantly (using AfterEffects). Lastly, the odd camera angles and shaking during Susan's interview don't leave a positive impression of the production.
My question to you would be: who is this trailer meant for? If it's meant to raise money, it has to be a LOT shorter and more tightly edited. If this trailer is for broadcasters, you have to make a better case for what your story is, and why Susan's train of thought will keep an audience engaged. Right now, I have no sense of what the finished film will be like; if it's just a slew of Susan's talking-head amidst an avalanche of archival footage, few will be interested. You can certainly "lead" the viewer with questions in your trailer, but you have to make them more regular and build on each other.
I'm sorry if my comments sound at all harsh, but I wanted to be completely honest with you. Again, your concept is rock-solid. It's the execution that is troublesome right now. If I were to suggest a possible structure for you, it would be something like:
1) Introductory montage – "Sympathy for the Devil"
2) 20-second sound bite from Susan on "What is Evil?"
3) Very brief exploration of Adolf Eichmann's case
4) Closing montage with some kind of cliffhanger question (e.g. "Can Evil ever be stopped?")
Anyways, best of luck with this project and any others you take up in the meantime...
Skyler, I'd say Adobe is the more pro type program. I've never heard of the Sony Version. But, I think Adobe Elements will get your feet wet, and then if you need something more you can get Pro.
Thanks so much Chris! That is what I needed. With the paintings I was trying to show that our ideas about the nature of evil have evolved over time, from Adam and Eve in the Garden to Demons, and from the Lisbon Earthquake (which was thought of as evil) to Auschwitz – I can see how this is not clearly communicated however. With actual money I'm hoping to have better quality images and text animation. The two opening quotes are lines from two opposing philosophers that formed the shape the Enlightenment would take. I think I just need another quote altogether – the bump is quite awkward – but I was trying to show that these ideas were in opposition to each other, forming the doubt and optimism that surround thinking about problem of evil throughout the modern world. I will also have more talking heads so ideally, Neiman will not carry the whole thing. I will try to shorten it, though I'm running out of volunteer hours from my editor :-) I'm hoping investors will forgive me the lower quality of this edit and understand that it will be better with money. Thanks again very much for analyzing this in such detail – I will try to apply your suggestions!
Oh – and the naked guy really does have significance, but I guess only to me! It's a painting by William Blake of Newton figuring out some major laws of the universe. During the Enlightenment, the philosophers thought that if Newton could come up with that, then human beings could come up with an explanation of why there is so much suffering and evil on earth – and then they went looking for the "Newton of the Mind" who they decided was Rousseau! But again, I understand that it doesn't make sense and is just plain awkward in the trailer – Darn!
I got a chance to watch your 'trailer' last night. It is more of a treatment, and I think it works really well as a fundraising video. First off, your choice of a subject to interview was great. She had the perfect voice, as well as zeal to make it sound really intriguing.
The piece is pretty good on its own as is, as a short. I didn't know where you were going with this when you first started talking about it. KNOWING EVIL could be so many things. I was surprised by your treatment of Bush as well as 9/11. It seems that 'evil' is a continuum. Does the ends justify the means? Is there some external evil, or do we create the notions of good and evil? Is it evil to kill a human, but not an animal. If not, why is it not ok to kill a human. What if there were or were not a God, would that change what evil is, as proposed by EXPELLED the documentary purporting Intelligent Design.
This piece really got me thinking. I thought I'd throw some at you just to let you know.
Thanks Jason! I'm glad that you liked it – it needs a lot of work still but I'm hoping it works to get me to the next phase. I really appreciate the feedback and your thoughts. What I hope for the film is that it might provide clarity as this is such a murky topic and so tricky to think about.
Now that Monica's a member, discussion of her trailer can migrate to the Works In Progress topic. Congrats on making the big leap, Monica.
Thanks Doug! Peace out enthusiasts! :-)
In reply to Skyler B's post on Mon 25 Aug 2008 : As one who has used PCs for almost 20 years and who never cared anything about Macs, I have to tell you that editing on a PC is more aggravation than it is worth. I used Premiere, Premiere Pro, blah blah blah. You will have program crashes, system crashes, conflicts, on and on. Buy a Mac and get Final Cut Studio. Yes, it is a lot more of an initial investment but I cannot tell you how many hours – days – weeks I WASTED with PCs and editing.
Do I like the Mac better than the PC? No, not really. I have trouble navigating the interface and overall, to me it is just a machine. But I will admit that I have now owned it for one year, never opened the case, have had a few crashes and a few program lockups but I have never had any data destroyed, lost or corrupted. I have never booted the computer and ended up in Limbo. Equally important is the Final Cut (and everything that comes bundled with it) is FAR superior to Premiere. In this case, I do believe you get what you pay for.
I'll be curious if others agree with this. In any event, good luck.
There are plenty of working systems on the Windows platform. Avid, Vegas Video, Edius, etc. I've used them all. Never had the issues you've had. This is likely due to making sure that there are no word processing applications or other non-essential editing tools on the same computer. People expecting to use one computer for everything will have nothing but trouble.
The other issue is cooling. Computers fail because they don't have adequate cooling especially ones with lots of drives. It's best to run an edit system so the ambient temperature is 62 degrees in the room where the system resides or that cold air is supplied to the computer. I often see people running systems that are operating in the 90 degree range. Expect failures as soon as the temperature rises.
hi, thanks to Eli for mentioning that the hvx p2 does not tape in hd, only sd, it finalized my buying or rather waiting to buy the new panasonic that comes out in october, 2 pounds lighter with no tape only p2 cards.My question, i read that it is very unlikely to get funding for a first doc, i'm wondering should i choose a different subject to my "dream doc" for my first?One that would be closer to home, aka, cheaper etc to get my feet wet?would an instructional film work?I made a 10 minute doc at school,hardly enough but how much experience is needed to seriously consider finding successful funding?Is it also having a executive director?I'm in for the long haul and i have already begun work on my "dream film" but i would like to be smart about getting some work and credit under my belt, so i can be taken seriously, cheers
Does anyone have a recommendation for the best and most reliable recordable DVDs? I do not want CHEAP. I want EXCELLENT! I need DVD-R inkjet printable.
Watershield discs by Taiyo-Yuden. Nice quality, pretty reliable, and inkjet prints that don't smear or wipe away...
I want to travel from the U.S. to Europe for a shoot (first port of entry is actually Morocco) with two checked bags of video equipment – a light and a lens. Do I need a carnet, or is a rental agreement sufficient for customs?
checking video equipment with the airlines is a bad idea. Theft rampant. Best to ship it or rent it there. If you do bring it, then you will need a carnet if it's pro gear. If it looks like a tourist camera you can sneak past. However, you should be aware that if you get stopped by customs you will be required to post the full retail value of the equipment in cash to enter the country with it. Negotiating can bring it down somewhat but there's never any guarantee. A carnet is cheap insurance.
i know i already asked this question but....i am totally lost on the whole archive business. I am looking for archives that represent women negatively in the meadia, ie...rap videos, make up ads, models ect. ect. I really need help plus, I don't know any of the rules/laws of archives.
Can someone please help?
Thanks a bunch!
Can anyone in the Michigan area direct me to get funding for my film?
Is the Michigan film office giving out grants?
Mark, you might start here: http://www.michigan.gov/filmoffice
Be sure to learn about the incentives Michigan is offering.
I'm not new to D-Word. I joined earlier this yr but I am a relatively new transplant to LA (been here since early 07). Anyway, just wanted to introduce myself: My name is Le Liu. My long-term objective is to write, direct, and produce my own feature docs, although as of late I've been thinking about TV and internet distribution a lot more.
My website reel is here if you wanna see my feature doc, my short films, or my speaking engagements :)
And this is the blog I keep for a long-term project I'd like to eventually launch....
I work M-F til about 7pm in Sherman Oaks (for the Emmy-nominated A&E show Intervention). But other than that, I've been wanting to make myself available to doc filmmakers who need help with whatever. I've done PA work, scheduling/coordinating, editing on FCP 3, public relations, film fest submissions, film fest boothing, and lots of other random stuff. At this point, I am mostly interested in development/funding so I can learn how to get my project off the ground (i.e. my blog) and into the real world of production.
In any case, if you're in the LA area and want an assistant (preferably paid, but I'll take whatever), feel free to CONTACT ME OFF-LIST.
Sorry if this has been asked a thousand times already, but is there a comprehensive web site that lists all organizations that have development grants for docs? I am starting to shoot my first doc and could use a grant or two ;-)
stefan, the grants section of the IDA site is not a bad place to start. it's not absolutely comprehensive but it has a lot of region-specific grants listed...
I was hoping to learn a little bit more about distribution companies. We currently have a film related to methamphetamine addiction and recovery that has gotten wonderful reviews and won numerous awards, and were looking into signing on with a distributor. What companies jump out at you as either being a good fit or have been a positive experience for you? Thanks for your help!
Hi, I hope my doubled intro will be deleted by you, the mentors, as I couldn't figure out how to delete my extra post.
done, laurie. you only have about 5 minutes to delete or correct a post yourself. whereas we almighty powerful hosts can delete anything at any time. wheeeeee!!!!!
We have a 90 minute doc shot and recently accepted into a couple "A" list film festivals. What we'd like to know is what sort of distribution deal we should be seeking at the festivals in the event the film wins or doesn't win awards. What kind of numbers should we be seeking for theatrical distribution? For television – HBO, Showtime, something like that? I know the best bet with theatrical is always trying to get more upfront rather than hoping for royalties down the line, but what ballpark figures should we be seeking?
Thank you in advance for any help you can provide.
If it makes any difference, the doc is a direct cinema (veritÃ©) w/out narration, that is, plays out like a normal fiction film.
I just joined, and at the moment am trying to figure out some translator issues for the documentary I'm editing- lots of footage in Hmong! Would anyone know of any good Hmong translators what would be the best way to give HD footage to a translator? Disks? Hard drives??
Also, for traveling and documentary filmmaking abroad, I have some team members going to Laos. Would anyone know of a good 'fixer' in Laos?
What's a team member?
Hoping to glean some knowledge regarding forming an LLC for a documentary.
Here's the back story:
Been working on a doc for almost a year now and I just got my fiscal sponsorship from the IDA. No doubt the dollars will be rolling in in no time (kidding kidding). But I AM hoping to do some serious fund raising and I want to make sure I protect myself financially.
The IDA fiscal sponsor form requires I submit a W-9 tax form with either my social security # or a Tax ID. Thus far I have merely opened a separate bank account and just keep track of finances with basic accounting software. Things seem to be getting more serious now and I'm considering starting an LLC.
1 – Has anyone with fiscal sponsorship from the IDA used their personal social security number? Did you encounter any problems submitting your taxes?
2- If I do decide to form an LLC, what are the advantages of forming an LLC for a general production company VS forming an LLC for a specific project. I hear a lot of people form the later.
Many thanks for any advise/ online resources you could point me towards.
Submit your short film to Pros And Con Games competition at Filmaka.com and you could win funding to direct your feature-length script! 15-20 filmmakers win $1500 to $4500 each month – 3 of those go on to compete for feature funding at the end of the year! Entries must be 1 to 3 minutes long and are due November 6, 2008. More info at
Hi, I'm a Los Angeles photographer looking to find a documentary film to do still photography. I'm wondering if anyone knows of a good place to find a list of documentaries currently in production or starting soon. Any words of wisdom or advice would help greatly.
Hi, I'm working with my first ITVS contract and need some advice regarding how best to distribute the funds – through a fiscal receiver or my LLC.
My situation is a bit complicated because of the history of funding on the project. Prior to my ITVS contract, I used one fiscal receiver for State grants (NYFA) and a non-profit organization for NEA funds. (NEA changed their rules several years ago and only allows organizations to apply, not individuals with fiscal receivers). I signed off on my ITVS budget giving the non-profit organization's director a salary equivalent to cover fiscal responsibilities. What I completely forgot about was that NYFA requires that they be the only fiscal receiver. NYFA is now telling me that they will terminate my contract if I don't use them as the fiscal receiver. I don't have an additional 8% in my budget to spare to cover their fee (18,000). The only option I can think of in order to not breach my contract with NYFA would be to use my LLC for the ITVS funds.
Does anyone know if I could still pay people as independent contractors if I use my LLC? What if people are working at my office? – Won't they technically need to be on payroll? (I did not allow for payroll expenses in my budget).
The only people who would be working at my office on a regular basis for the year are editing assistants and the editor.
A friend suggested I create a sequence of "best shots" from my trip to Egypt. I guess this is under "research", "Egyptian Identity", silly ideas as to what that might be....misconceptions I've seen personally or in media/film, whether negative or positive where what interested me at first...am I mixed in there somewhere as Erica suggested a while ago?
A 41MB H264 QuickTime Movie (no sound) is at:
Judy, considering that you have an ITVS contract, you might want to consider applying for member status on this website – it will open up a lot more forums and chances to get more feedback on a question like that. That said (and not being an accountant/lawyer), my best advice would actually be to talk directly with ITVS. They obviously have a vested interest in you managing to finish your project, so they'll be able to better advise (or point you in the right direction of someone else who might) and from all accounts, are very helpful in general. My understanding of an LLC is that it's akin to any corporation, so you should be able to pay people the same way anyone with a company might – but, please, don't take my word on it as I'm not a lawyer/tax accountant, I just know that a lot of films are set up as LLCs and must also deal with this dilemma. Hope some of that is helpful and good luck!
judy, i think what eli says is right. i'm not quite sure why you would process your ITVS funds through a fiscal sponsor anyways – ITVS doesn't need a tax-deductible receipt from you. the only entities that go through your fiscal sponsor are 1) individuals who want to deduct their donations from their taxes; and 2) foundations or corporations who have a policy of only donating funds to non-profit organizations. so i think you have nothing to worry about...
for the record, i have an LLC and i pay my independent contractors through it. the question of whether your crew are considered employees has nothing to do with paying them through an LLC (or other such corporation). the employee designation has more to do with whether they are truly functioning independently from your constant supervision, and a few other key provisions that you can easily google...
I'm getting ready to do a documentary about leader dogs for the blind. This project will take about two years to complete. I was told to look for grant money but, don't have a clue where to start and this project will start in January 2009. I have most of the equipment because of video work that I've done before for example Canon XL1s cameras. I will also do all my own editing in FC studio. This is the first project of this size and if I can get it done right, the org. that I'm working with could get a lot of donations and help me as well.
Thanks for your time
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Good morning Mansi;
Thanks you very much for this information. I'll check into all of this
Have a really great day!
Egyptian Identity V2 – 11+ minutes, subtitles begun, audio, very raw.
Not many responses (none actually!) on my last mentoring request, maybe this time will be different?
Thanks in advance
What's your actual request, Sam? Feedback?
You know Doug, Yes! Feedback PLEASE!
I should have made it clear I was looking for feedback, but this was the mentoring section so I made some silly assumptions :)
Does anyone have any incite on the legality and public domain issues in using youtube-like videos posted on the web? I know that formally copyrighted material is a no go, but what if, say, I want to use a video of Joe-Sixpack (ahem) taken at a bar and posted by his girlfriend, Josephine. Any chance Joe can bust me on this? Thanks! Rob.
One of the dirty secrets of the legal industry is the concept of "exposure." It means how likely you are to be sued by someone, and how likely it will end up costing you loads of money.
In the scenario you described, I'd say your exposure was zero, meaning not to worry about Joe Six. Now, if you were Steven Spielberg then Joe Six (and his lawyer) would probably figure you are loaded and come after you. Conversly, if Joe Six actually turned out to be Joe Pesci, he might come after you (and not just with his lawyer).
So, no responsible person would condone or encourage you to break the law. But you got me instead, the realist. Bottom line: Joe Six CAN "come after you" but it's not likely he will, and if he did, you would get a letter telling you to cease and desist before appearing before any judge.
In reply to Sam Rabeeh's post on Tue 11 Nov 2008 23:18 UTC :
Sam: your description says "Raw video and sound" so are you asking for feedback on just your camera work and sound, not the editing?
In reply to Robert Shore's post on Wed 12 Nov 2008 :
One more thing about exposure. If you are going to use it in film that becomes well-known then your exposure increases. If it's for some fraternity gag film night then not likely. You getting the idea?
I would like to get some advices or creative ideas on how to finance films through the internet.
Have you googled Sundance Documentary Fund? There are plenty of grants programs out there, but that's the first one off the top of my head, and it's actually VERY competitive. What you should also do (if you haven't already) is become a member of the International Documentary Association. They offer fiscal sponsorship to many indie docs, so you can accept donation$ through them!!! Check them out at:
If you wanna use that footage, you still need a release from the subjects who appear in it, including the Joe Schmoe who happens to be the bf of the girl who uploaded it. Also, as far as ownership goes, I think that could be a battle between the person who shot/uploaded it and Youtube, but I don't know of Youtube having any sort of exclusivity policy, so if you can get your hands on the original footage, use that instead. Youtube video quality sucks anyway!
Check out this blog from my friend. She's edited many major projects and has some good insight on how to get your film out there on the web.
Good luck to you guys!! Email me if you like'd more info!!!
Thanks for all your help on the youtube issue. Like so many things, it's clearly unclear. Another question (sorry, kind of learning as I go on this project): I'm thinking about investing in some HD cameras. I have the budget to buy something a bit bigger and fancier (thinking about the Sony EX1) and something a bit less expensive and more easily portable (maybe the Sony A1U). I am concerned about the compatibility of the images. Does anyone have any experience with this? Will the images flush visually if cut end to end? Thanks again,
In reply to Mark Barroso's post on Thu 13 Nov 2008 :
Hi Mark, you can reply on anything. I'm open to advice especially the cinematography as I had difficulty keeping things framed and even making decisions on framing as "everything was happening at the same time".
In reply to Marianne Hjorth Nielsen 's post on Thu 13 Nov 2008 :
I think your question is too general. What kind of film are you talking about?
I have personally been funding my own documentary project and I have run out of funds. When I began the project I really didn't know how extremely detailed I would have to be to complete it. In the beginning I was just thinking of a way to make money, but when I began to understand what it took to create a quality project I knew that I might be in over my head. I hired and trusted someone who I was told knew what they were doing. All that happened was I got cheated out of money. So I got my own camera, a Sony FX1 and a mac pro lap top and began to shoot my own project. I am about 80% complete but just need funding to complete it. How would I go about getting funding for it?
Friends and family are the usual starting points, Charles. Then there's everyone you know. Probably not what you wanted to hear, right? Anyway, would help to know what your doc is about.
charles, if your doc has an obvious social issue associated with it – e.g., education, civil rights, poverty alleviation, global warming – then there are a host of foundations and film organizations which have grant programs available. if your doc does not have any such link to social issues, then you'll find the grant world pretty slim pickings.
for minority filmmakers like you and me, there are always film orgs like NBPC (National Black Programming Consortium) that have grants available. these grants, however, are highly competitive.
for you, the best thing to do would be to make a fundraising trailer (2-5 minutes) and show it to individuals and other organizations who can either fund you, or put you in contact with others who can.
I'm looking for answers Doug, those I want to hear and those I don't. I'm actually going through that short list of people right now. My documentary is entitled, MODERN DAY GANGSTA "Hood Pollitics". It's about a small community in Long Beach California that is occupied by two gang factions, the Insane Crips and the Rollin 20 Crips. They share the same streets, the same friends and families, the same history. They are so closely related that they could be considered family, in some cases they are, and they are killing each other at an alarming rate. The funerals are numbing and have become common. The questions are many but the answers are few. There is no real justice for the families. The code of silence in the community is stifling. Young black men are being put away for the rest of their lives. The danger in shooting this project is real and frightening, but it's a story that must be told.
I have done time in city and county jails, state and federal prisons. I was a product of everything that is wrong with that community, and although I was never involved with either of the two gangs, I was a part of the same social and psychological retardation process that has affected many in that part of the Long Beach community.
I have a Sony FX1 and a mac pro laptop computer. I have hired a professional to do the final edit. I have accumulated a great deal of footage and I'm clear on the direction of the doc. I have a young man from each gang and telling the story through their eyes. They still have gang affiliations, however they have become community activsts, have great jobs and are willing to put themselves on the line to get this story out.
What I like about this site is that it is so informative. If you take the time to read over the many questions and answers from other Enthusiasts and Members, many of your questions will be answered, not to mention the plethora of sites posted. It's absolutely amazing and I truly appreciate all of the information and I want to thank you for allowing people like me to be a part of such a worthwhile site.
Thanks Christopher for the advice. I read the comment you wrote on Monica's 10 minute trailer and I found it quite informative. I will check out the NBPC and I'm confident that my documentary will comply with some of the criteria they are asking for. When I read the comment you sent to Monica it made me take a closer look at my own. Keep up the good work brother and thanks again.
you're welcome, charles. looks like you have a wonderful project – and it sounds much more compelling than the "MADE IN AMERICA" doc recently done by Stacey Peralta. since you have the insider perspective, i can't help but think that NBPC would be interested. also, in addition to NBPC, you should also apply to ITVS. btw, if you are a first time filmmaker, you will probably be obligated to pull an experienced Executive Producer on board in order to qualify for funding. but with your storyline, that shouldn't be a problem. best of luck!
Sounds like a very strong project, Charles, as Chris says. The very first thing you should do is apply for full membership in The D-Word. It will give you access to all the discussion topics.
I truly appreciate your comments Christopher. I may have someone with experience to attach to the project for the purpose of getting funding. When I was in Federal prison I would lay on my bunk submitted because it is difficult for me to trust people since one of my scripts was flipped to make Chris thinking of ways to make money doing what I liked doing. I had already written several scripts, none Rock's HEAD OF STATE. I figured the simple thing to do was to produce a documetary, distribute it straight to DVD and make money. The problem was that making a documentary would be more complicated than I thought it would be. My editor expressed to me that if I wanted him to edit the project, lending his name to it it would have to follow protocol and he suggested that I watch countless documentaries. I started shooting the project in 2006 and I must say that it has been a learning experience. The one thing that I understand is that there is no second chance to make a first impression so I have been very patient. This site has been God sent. Thanks again Christopher
Thanks Doug I wanted to apply for full membership but didn't know if I qualified. I will apply immediately.
Charles you say you're 80 per cent complete and you need the other 20 per cent ... what is left that will take 20 per cent? Music compposition? Mix, color correction, etc. that kind of things. There might be contacts that can help with the completion if we know what you're needing.
You know what's funny David? I thought I was about 80% completed but after joining this site I may be about 60%. I have about 75 hours of footage. I have already paid for the editing. I have worked out the music composition. I just need to shoot more of the principles in my project and pic up some more equipment and pay the cameraman shooting the B role. Any advice you have I am open for it. Thanks a bunch.
In reply to Le Sheng Liu's post on Sun 16 Nov 2008 : Thanks for the information.I will look into those groups. I'll keep you posted on my progress.
Charles, you should definitely be in touch with Stanley Nelson from Firelight Media in NYC. He told me he has just launched a mentoring initiative for minority filmmakers and is looking for folks to mentor. He is absolutely invaluable.
Also, once you've got a trailer together, send it to him and he'll offer some advice on who to approach for more funding. And if you're really lucky, maybe you could get him to come on as Exec. Producer.
He's not great on email, so I suggest you give him a call and introduce yourself. Their number is 212.234.1324. Web address is www.firelightmedia.org.
Thanks Julianna, I will be sure to give him a call. I do have a trailer but I want to make it more professional.
Charles, also suggest if you are not already connected to sign up for Doculink. I believe they do work in progress screenings of trailers from time to time which may be worth looking into. Fellow D-Worder Robert Bahar is the Doculink Guru, so you may also want to talk to him. There's another group in the L.A. area now doing WIP screenings, but I think they are more focused on rough cuts. Plus D-Word now has a Vimeo channel where you can post for feedback here. I'm sure Doug can post the link since it escapes me at the moment.
Submit your short film to "The Party" competition at Filmaka.com and you could win funding to direct your feature-length script! 15-20 filmmakers win $1500 to $4500 each month – 3 of those go on to compete for feature funding at the end of the year! Entries must be 1 to 3 minutes long and are due January 12, 2009. More info at
In reply to Erica Ginsberg's post on DOCULINK WORKS-IN-PROGRESS :
Yes that is true. LA Doculink hosts about one or two (or maybe even more) works-in-progress screenings by its members. We call it the 10x10 because ten submissions are selected for screening and discussion. I don't know when the next one is, but I recommend all D-Worders join Doculink anyway. It's a great resource just like D-Word!!!
I just posted a question in one of the members-only forums, but thought I'd come here and pick the brains of the general populace. I'm trying to help put a panel together for a talk in NYC on filmmakers' experiences with digital distribution. I need to get some more viewpoints on the topic.
If you – or anyone you know – is making any money with digital/online distribution of a documentary, please contact me: nycdiane "at" gmail "dot" com. If not making money, how would you define success with digital distribution? Thanks!
Hi – think this is the best place to post this:
I'm about to go on a documentary shoot abroad. I'm relatively new w/shooting video and have a camera guy shooting on a Sony Z1 along with me.
I want a TOP end camcorder that I can plug a kick ass mic into to shoot great b-roll. Here's my question: which camera will give me the closest to pure HD image? I've been directed to the HDC-H100K. I'm thinking of buying it but it takes SD memory cards. Are these superior to tapes? If I edit in Final Cut Pro, will I be able to easily get all this footage from the SD cards w/o a problem? I've heard bad things about the cards...HELP. Thanks so much in advance.
my advice to you would be to figure out a way to bring a 2nd Z1u.
even if budget is tight, you can still buy one (used), and then sell it after for a net loss of a few hundred bucks probably.
this way, there is no problems with matching footage, etc. and if something goes wrong on your shoot with either z1, then you have a backup.
it also has XLRs which is the only way to work if you want to use a great mic.
I use a Sony A1U as a second camera to my Z1U. The image matches nicely, and the A1U costs half as much, is less than half the size and it has XLR audio.
The A1U sucks in low light though.